altar--indicative of the Lutheran form of worship being carried on
within the church--upon which are oil paintings upon wood, emblazoned
with gilt backgrounds--of the time of Hans Burgmair, and of others at
the revival of the art of painting in Germany. These pictures turn upon
hinges, so as to shut up, or be thrown open; and are in the highest
state of preservation. Their subjects are entirely Scriptural; and
perhaps old John Holbein, the father of the famous Hans Holbein, might
have had a share in some of them. Perhaps they may come down to the time
of Lucas Cranach. Wherever, or by whomsoever executed, this series of
paintings, upon the high altar of the Cathedral of Ulm, can not be
viewed without considerable satisfaction. They were the first choice
specimens of early art which I had seen on this side of the Rhine; and
I, of course, contemplated them with the hungry eye of an antiquary.

After a careful survey of the interior, the whole of which had quite the
air of English cleanliness and order, we prepared to mount the famous
tower. Our valet, Rohfritsch, led the way; counting the steps as he
mounted, and finding them to be about 378 in number. He was succeeded by
the guide. Mr. Lewis and myself followed in a more leisurely manner;
peeping through the interstices which presented themselves in the open
fretwork of the ornaments, and finding, as we continued to ascend, that
the inhabitants and dwelling houses of Ulm diminished gradually in size.
At length we gained the summit, which is surrounded by a parapet wall of
some three or four feet in height. We paused a minute, to recover our
breath, and to look at the prospect which surrounded us. The town, at
our feet, looked like the metropolis of Laputa. Yet the high ground, by
which we had descended into the town--and upon which Bonaparte's army
was formerly encamped--seemed to be more lofty than the spot whereon we
stood. On the opposite side flowed the Danube; not broad, nor, as I
learned, very deep; but rapid and in a serpentine direction.